There’s plenty of intrigue to be gleaned from the story of a poet. The romantic notion of a wandering wordsmith of keen mind and melancholic disposition; quick to find a phrase where others can’t, and the first to offer a cheery limerick or profound recitation to the battered soul that bothers to listen. But the mystery of this figure is in their removed quality, emotionally isolated by his or her own will. Tormented inside and perhaps contradictory in the action they take, the celluloid poet is usually found inspiring others as they slowly destroy themselves.

In the case of Set Fire to the Stars, the troubled artist in question is Dylan Thomas (most popularly known for the poem, Do Not Go Gentle into that Good Night). The year is 1950, and the Welshman’s been scheduled for a number of poetry readings across the U.S. His first stop is New York City, where he is received by a creative writing professor named John Brinnin (Elijah Wood). A great admirer of Thomas’s prose and an aspiring poet himself, Brinnin flippantly disregards the man’s incorrigible reputation and agrees to be his guide on the tour. Unfortunately, Thomas lives up to the unsavory stories and what was meant to be a professional companionship between a literary celebrity and his liaison soon becomes something closer to that of a man-child and his reluctant babysitter. After a rowdy night on the town and an ugly bottoming out at the hotel, Brinnin decides to take the drunken poet out of the city, to a family owned cabin in the woods of Connecticut. There, the two men alternate between bonding and butting heads as Thomas prepares for an upcoming engagement at Yale University.

While the events are from the perspective of Elijah Wood’s character, it is ultimately Celyn Jones that commands the spotlight as Dylan Thomas. The poet is a hurricane of a man, strong and aggressive, always looking for either a drink or a hefty meal. He’s introduced to us at a party, playing the part of a wild gorilla, swilling alcohol and drunkenly crashing through another man’s apartment as he carries a shrieking woman over his shoulder. The boorish behavior extends to all settings and no matter who the audience is, Thomas seems unable to stop himself from indulging his impulsive spirit. He cares not what others think of him and frequently frustrates his comrade, but through it all, he retains a certain eloquence, his brilliant mind making itself known at the most unlikely times. Jones’s performance is magnetic and aside from the occasional overly-sentimental moment, his portrayal of the larger than life poet is well-balanced and often nuanced.

As Thomas’s cautious caretaker, Elijah Wood is not nearly as compelling. Wide-eyed and slightly awkward, Wood fits the role, but his affectation is flat in almost every scene. He doesn’t quite sell his embodiment of John Brinnin, and with a character that is so thinly written in the first place, it’s hard to get a real sense of him beyond his politely hesitant tendencies. The film hints at something more interesting in a scene in which Brinnin tells a heartbreaking impromptu story at a dinner party, but outside of this anomaly, the character remains underwhelming—little more than a window for the audience to view Thomas through.

The brief emotional odyssey these two characters traverse is unconventional, but not always engagingly so. Plainly stated, the structure and pacing of their story is off-putting at first. The film starts quickly, leaping right into Thomas’s arrival and presenting the men as being more familiar with each other than would be expected of two people who’ve just met. There’s very little time devoted to the relationship being built up, and twenty minutes in the film and its characters feel well into their falling action. It’s a strange way to open a film—saved only by the natural story progression—and the remainder of the movie plays like an extended third act. The eventual slow down in pace is appreciated, as a series of introspective conversations and encounters with off-kilter personalities are allowed to take place and give the film some thematic focus. Though, this lengthened ending weighs the film down and makes it difficult for these series of moments to add up to anything truly memorable. Set Fire to the Stars goes out on a relatively high note, but the false climax at Yale and a couple of non-endings hamper it.

Beyond the confusion of the story structure lies a greater problem in the film’s dialogue. For a semi-biographical film dealing with a poet, one would expect there to be some analysis of the writer’s work in relation to his or her life. A study of the poet’s negotiation of real life issues through language. But, this is not exactly what Set Fire to the Stars does. The dialogue is unnaturally dense in an attempt to imitate poetic written prose, but only succeeds in undercutting emotional tone. Thomas’s own poetry is employed from time to time and its use resembles a dazzling crutch more than an enlightening tool. Pretty, but slight when it comes to informing the story.

Along with its flawed flow and stunted dialogue, the film teases with false emotional plot devices as well. Distractions that do the characters and story no real service and serve up more disappointment upon their eventual reveals.

Writer-Director Andy Goddard (best known for his work in TV shows like Downton Abbey and Torchwood) doesn’t lack in visual ability. The black and white cinematography is good-looking and a quietly somber mood is nicely evoked in a number of expressive visual flourishes. The only crime Set Fire to the Stars commits is the quaint crime of being unremarkable. Priding itself on lofty quotes, the film struggles to fully involve the audience on an emotional level begging the question, who is the film for? Lovers of jazz-inflected narratives set in early ’50s America may enjoy it and fans of Dylan Thomas will surely get more out of it than those unfamiliar with the man, but for everyone else, there’s not much to write home about.

With Timecrimes and Extraterrestrial, Spanish filmmaker Nacho Vigalondo has proven to be one of the most original voices in modern sci-fi and horror (his short featured in The ABC’s of Death was also a highlight). Now you can check out the new trailer for his upcoming film Open Windows, which we reviewed for its SXSW premiere.

Open Windows stars Elijah Wood as an obsessed fan, who gets the chance to watch his favorite actress (played by Sasha Grey) via a secret webcam. When Jill Goddard is kidnapped, Nick becomes wrapped up in a fast-paced cat-and-mouse thriller.

The hook to Open Windows is how the film is shot, which can be seen in the trailer. The majority of the film is shown in real-time, using webcam and desktop interfaces in place of a traditional camera. Vigalondo has shown a smart sense of technology in his previous films, so rest assured that Open Windows will be more than just a gimmick and will use the technology in bold new ways.

Open Windows will be available on VOD on October 2 and in theaters on November 7.

Open Windows trailer

Rubber Soul

Rubber Soul reenacts two in-depth interviews of John Lennon that were conducted ten years apart from each other. No words of Lennon’s were altered during this reconstruction, though the film does jump between the two interviews, sometimes revealing contradictory statements made from the former Beatle. In one interview, Lennon states how he and Paul McCartney rarely ever wrote songs together, but in the other he recants by saying that two did in fact do writing together.

Most of the film consists of Lennon going on long rants about The Beatles. A few of the antidotes are noteworthy, however, the majority of these interviews end up being more of a meaningless ramble. Die-hard Lennon fans will obviously get the most out of Rubber Soul, but strictly Beatles fans may not gain much more insight than what is already widely known. At one point Lennon acknowledges that all artists are egotistical, the film reveals that he might be the biggest of both.

RATING: 5.8

Ping Pong Summer

It would be very inquisitive to see what the reactions are to Ping Pong Summer from people who are unfamiliar with the pop culture of 1980’s–since the film is filled to the brim with 80s slang, grainy and desaturated picture, cheesy crossfades, perms, bright neon colored clothing, and unnecessarily gigantic boomboxes. Those who know that a suicide drink is a mix of all the available flavors will have a totally rad time with the film, and those who never used a cassette tape will likely be very confused.

Ping Pong Summer is a family vacation movie where an awkward teenager travels with his middle-class family to a beach town where he instantly falls in love with a cute girl while making enemies with a rich preppy bully. The central conflict in the film centers on the game of ping pong, when a challenge is made between the sworn enemies to see who rightfully gets the territory of the table and winning the heart of the girl. Ping Pong Summer uses just about every cinematic 80s cliché in the book, purposely making the plotline and outcomes very familiar. It is an approach that ultimately works, even if it does lay it on a bit thick.

RATING: 7.4

Open Windows

By now people familiar with the work of director Nacho Vigalondo’s should expect an edgy high-concept story is in store, and that’s exactly what Open Windows delivers, and then some. The film hits the ground running from the start when an obsessed fanboy (Elijah Wood) wins a contest to have dinner with his fixation, actress Jill Goddard (Sasha Grey). While eagerly waiting in his hotel room to meet the actress, news that the contest has suddenly been cancelled is brought to his attention by a mysterious man (Neil Maskell). But the man has something for him far better than a dinner date, camera surveillance of her from every angle and complete access to her phone.

Undeniably impressive is the fact that almost the entire film is shown on a computer screen that simulates a webcam feed between all of the characters. While Vigalondo does take some liberties with how technology operates, the overall concept of how easy it is to be tracked and watched online is very real. If anything Open Windows is an exploitation of technology, specifically internet surveillance. This is an incredibly fast paced thriller that contains so many plot twists that a second or third viewing will not only be required, but also preferred. Some are saying Open Windows is a 21st century Rear Window, a comparison that I would agree is rather reasonable.

RATING: 8

Every once in a while, we all see one of those special films – something that pushes the boundaries, defies expectations, breaks down the walls and makes us reconsider what is possible in the world of film making. Eugino Mira’s Grand Piano, starring Elijah Wood, is just such a film – it is a movie that challenges you, radically expanding one’s notion of how you can blow several million dollars at a single go– several big-name actors, technical-virtuosic production value, and the most improbable plot line you could ever think of.

The film takes the notion of piano recital jitters to the utmost extreme – musical prodigy Tom Selznick (played by Wood) returns to the stage after a long hiatus, hoping to reclaim the spotlight after an embarrassing bout of stage fright five years before. With the support of his wife, successful actress Emma Selznick (Kerry Bishé), things seem to be looking up for Selznick.

That is, until the performance – Selznick suddenly discovers an ominous note left on his sheet music, warning him if he plays one wrong note he will die. Thus we are launched into a psychological thriller so intensely implausible it’s hard to know what to make of the whole thing. Was the film meant to be funny? Indeed, it’s campiness and ironic touches of humor (from the wife’s crazy best friend and her tagalong husband, to the obnoxious comments that Wood receives from well-wishers throughout the film) could lead one to think it was all made in jest.

If Hitchcock made the film (who Mira is certainly drawing from), perhaps we could take it more seriously, but as it stands Grand Piano seems caught between its serious delivery and the sheer corniness of everything else. Thus we are left with this bizarre, campy film that appears unaware of it’s own silliness. Toss in a few odd Citizen Kane references, John Cusack’s random appearance as the film’s villain, and the distracting height difference between Wood and his leading lady, and you leave the theatre not sure whether to laugh or simply wish you had seen something else. Let’s face it – the movie is essentially about a piano player who hopes his audience won’t shoot him.

To the film’s credit, the production value was astoundingly high, and technically excellent – it featured beautiful cuts, musical scoring, lighting and all the rest. The actors did the best they could, adding to the film’s crisp and well-executed feel. Indeed, the fluidity of the whole thing (along with its subtle hints of humor) is what saves Grand Piano. It’s fast-paced, gripping style is engaging despite the plot’s overwhelming implausibility – the movie’s ridiculous, but it looks so good viewers it’s hard not to want to believe what’s onscreen.

As a brief aside, the film is surprisingly insightful in its portrayal of stage fright – not just the anxiety, but the obnoxiousness of compliments, words of encouragement and annoying well-wishers. But best of all is the ultimate, ridiculous realization, (and insult to every perfectionist out there), that for all your fear, the audience probably won’t notice if you screw up (though they might try to kill you for it if they do).

It is a fact of life that doing the right thing is rarely the easiest. This is a hard concept to recognize but an even harder one to actually go through with. The theme behind Celeste and Jesse Forever is about doing the right thing even though it feels wrong to. A couple tries to maintain their friendship despite their pending divorce. The situation becomes even more complicated when they both try to pursue other people.

When first introduced to Celeste (Rashida Jones) and Jesse (Andy Samberg) they seem like the perfect married couple; laughing at their little inside jokes, saying an appropriate amount of endearments, and never bickering with one another. It is not until their engaged to be married friends call them out during dinner about how bizarre it is that they are in the middle of a divorce, yet still remain such close friends. It is indeed a bit strange, Jesse still lives in Celeste’s guest house and the two spend nearly every day together.

Jesse is a procrastinating freelance artist who is still seeking a full-time job, but is in no real hurry to actually get one. He is more anxious to ride on a killer wave than to apply for a job. Celeste is a “trend forecaster” who just finished her first book and while she may not be as successful as she would like to be, the point is that she has determination and goals. So while they share so many similarities elsewhere, their career drive is vastly different.

As you might expect, one of them still has feelings for the other. In this case, it happens to be Jesse wishing that they would eventually get their marriage back on track. He hopes this separation is just a way for Celeste to realize what they had together, though it is hard to for her to see what she and Jesse had when they still hang out every day. So Jesse takes the advice from a friend that he should start seeing other women for the sole purpose of making Celeste envious. But by the time Celeste figures out that she wants Jesse back, it may be too late.

The chemistry between the two characters on screen is stunning to witness. So much so, that it is hard not to root for the couple to get back together. But even more impressive, is how both of them evolve when they are not together. There is a serious side of Andy Samberg that is rarely seen. For the first time, his comedic talents serve as undertones instead of the primary characteristic, which is more effective than one would imagine.

Even though Samberg was splendid, the main star of the film is Rashida Jones. She receives the majority of the screen time and commands it well. Jones proves that she has what it takes to handle more than the supporting actress she is normally is assigned to. Watching her character transform as much as it did here could make your head-spin; going back and forth between a confident control freak to a miserable bong-hitting mess. Rashida Jones also shares a writing credit with co-star Will McCormack on the screenplay, which makes her efforts even more impressive.

Speaking of the screenplay, Celeste and Jesse Forever received an award nomination for Best First Screenplay at the Independent Spirit Awards, which is interesting, because the Spirit Awards will be hosted by Andy Samberg. The film starts off similar to most rom-coms, but it does not take long before the film develops into something slightly more refined.

The charming and honest approach suits well for Celeste and Jesse Forever, altering the spoiled and formulated romantic comedy genre. Perhaps what the film does best is balance out the humor with the heartache, never allowing one to dominate too much. Instead of settling for an ending that is predictable and customary, it opts for an authentic outcome that is difficult to accept – for both the characters and the audience – even if it is the right thing to do.

I will begin by saying, this is a must see film; an absolute must see film. If you’re confused by my recommendation on your first viewing of Eternal Sunshine of the Spotless Mind, then watch it again, but this time – really see it. Follow every line, and understand every visual, take it all in and let the film run away with your mind. Eternal Sunshine is without a doubt an extremely polished film that delivers on all fronts; it ticks all the boxes.

The storyline is complex and totally far fetched, but is utterly unique and something very beautiful. Joel Parish (Jim Carrey) is an ordinary guy with an ordinary existence. When we’re first introduced to his character he starts the day off with the aim of going to work, but whilst waiting for the train, something out of the ordinary happens to Joel; he runs across the platform and jumps on a train to Montauk – a completely spontaneous act. Whilst Joel walks across Montauk beach he sees a girl with an orange sweatshirt on, also walking along the sand. Clementine Kruczynski (Kate Winslet) introduces herself on the train and that is where their story begins or so you would believe.

Eternal Sunshine of the Spotless Mind is anything but ordinary. The film takes you down so many different visual paths that you find it difficult to place each scene. You find yourself understanding Joel’s anger towards what has happened in his life but you also feel the pain of his past when he’s confronted by his memories. Early on Joel decides to undergo a ‘new-age’ therapy that will eliminate all the memories that cause him pain and betrayal he felt during his relationship with Clementine; we find out soon enough that he regrets this decision.

Clementine is a character that can be defined by her own words “Too many guys think I’m a concept, or I complete them, or I’m gonna make them alive. But I’m just a fucked-up girl who’s lookin’ for my own peace of mind; don’t assign me yours.” This speech she gives to Joel is one of the most realistic and direct definition of what women like Clementine are portrayed as through film. She doesn’t pretend to be another ‘Ruby Sparks’ or ‘Allison’ (from Yes Man! also starring Jim Carrey) – she isn’t the girl that breathes life back into the empty chests of men without colour or direction to the world they live in. Clementine is simply a girl who makes mistakes and is looking for some direction of her own.

Opposites surely do attract in Eternal Sunshine. Joel is “boring” and Clementine, “impulsive” – quite a clash in terms of the chemistry within a relationship. Due to their conflicting personalities, harsh realisations are made apparent and the couple are left to deal with the emotions that are brought to the surface. During the course of the film we get to see both sides of their relationship through various memories Joel is reliving. Through this we get to see the good, the bad and the downright ugly; yet when their relationship is good, it’s beautiful. A memorable scene that demonstrates this is when Clementine describes a deep rooted childhood memory to Joel, from where she first decided she was ugly; Joel begins kissing her and tells her she’s pretty over and over again until they fade into a new memory. With fantastic use of cinematography, the director (Michel Gondry) and the DOP (Ellen Kuras) produced phenomenal shots and scenes (including the one just described) by using light, colour and intense intimacy between the subjects, they bought to life the powerful emotion of each memory. This is outstanding filmmaking.

This said, I must also give credit to Carrey and Winslet for their performances as both were out of their comfort zones. Carrey, more known for his humour and comedic roles and Winslet for her super serious Britishness – both delivered fresh and very realistic portrayals of what two people in a dysfunctional relationship are like and how they survive through the love and understanding they share for one and other. Eternal Sunshine of the Spotless Mind is a breath of fresh air when it comes to on screen romance and I rate it highly among the films I adore.